CATALOGUE  OF  THE 

JACOB  STERN 

Loan  coLLEcfioN 


V.i  * 


lUFORNIA  PALACE  OF  THE  LEGION  OF  HONOR 

LINCOLN  PARK 
SAN  FRANCISCO,  CALIFORNIA 


CATALOGUE  OF  THE 

JACOB  STERN 
LOAN  COLLEcf[ON 


CAUFORNIA  PALACE  OF  THE  LEGION  OF  HONOR 

LINCOLN  PARK 
SAN  FRANCISCO,  CALlFORNL\ 


J¥oS 
£(rlON 


UNIVERSITY  ART  MMM  LIBRARY 


bonpFBTY  OF  THE  ART  COLLECTIONS 
KSv  OF  CAUfORNlA.  BERKaEY 


CATALOGUE 

OF  THE 

JACOB  STERN  LOAN  COLLECTION 


CALIFORNIA  PALACE  OF  THE  LEGION  OF  HONOR 

LINCOLN  PARK 
SAN  FRANCISCO,  CALIFORNIA 

PROPERTY  OF  THE  ART  COLLECTIONS 
UNIVERSITY  OF  CALIFORNIA,  BERKELEY 


BOARD  OF  TRUSTEES 

OF  THE 

CALIFORNIA  PALACE  OF  THE  LEGION  OF  HONOR 

LINCOLN  PARK,  SAX   FRANCISCO,  CALIFORNIA 

President,  Herbert  Fleishhacker 
M.  Earl  Cummings  Paul  Shoup 

Walter  D.  K.  Gibsox  Alma  de  Brettevtlle  Spreckels 

William  F.  Humphrey  William  Sproule 

George  Tourny 


EX  OFFICIO 
Mayor  of  the  City  and  County  of  San  Francisco 
President  of  the  Board  of  Park  Commissioners 


Director 
Cornelia  B.  Sage  Quintox 

Curator 
William  Warren  Quinton 

Secretary 
W.  M.  Strother 

Organist 
I'da  \\'aldrop 


I'HE  CALI1()RXL\  PALACE  OF  THE  LEC^ON  OF  HONOR 

is  open  every  day 

including  sundays  axd  holidays 

FROM  10  o'clock  a.  m  to  5  o'clock  p.  m.  free  to  the  public 


SKETCH  OF  THE 

CALIFORNIA  PALACE  OF  THE  LEGION  OF  HONOR 

LINCOLN  PARK,  SAN  FRANCISCO 

THE  California  Palace  of  the  Legion  of  Honor  is  placed 
at  the  summit  of  one  of  the  hills  overlooking  that 
"Golden  Gate"  which  opens  the  immensities  of  the 
Pacific  to  the  Voyager  leaving  San  Francisco. 
The  Museum  was  presented  to  the  City  by  Mrs.  Adolph  B. 
Spreckels  and  the  late  Adolph  B.  Spreckels  in  memory  of  the 
California  Soldiers  who  fell  in  the  Great  War.  It  is  intended 
to  honor  the  dead  while  serving  the  living.  Erected  on  ground 
offered  by  the  San  Francisco  Municipality,  its  glorious  lines 
rise  in  the  magnificent  frame  of  Lincoln  Park. 

The  style  of  the  California  Palace  of  the  Legion  of  Honor 
is  French  Renaissance  of  the  period  of  Louis  XVI,  which 
lends  itself  well  to  the  quiet,  dignified  treatment  necessary  for 
museums.  Behind  the  Triumphal  Arch,  which  is  surrounded 
by  colonnades,  and  which  constitutes  the  entrance  to  the  Pal- 
ace, extends  a  spacious  Court  of  Honor,  surrounded  by  Ionic 
columns  prolonging  those  of  the  facade.  The  Rotunda  is  the 
point  of  departure  of  the  long  galleries  destined  for  the  exhi' 
bition  of  tapestries,  paintings,  sculptures,  engravings,  prints 
and  other  works  of  art.  Constructed  of  stone  and  steel,  under 
the  direction  of  the  American  architect,  George  Adrian 
Applegarth,  a  native  of  California,  the  Museum  is  equipped 
with  a  perfect  lighting  system  permitting  of  visits  both  by 
day  and  night. 

On  the  main  floor  there  are  nineteen  galleries  for  painting, 
sculpture,  and  all  works  of  art,  which  include  the  Tapestry 
Hall  and  the  two  Garden  Courts,  where  fountains,  semi-tropi- 
cal flowers  and  plants  are  placed,  and  where  one  may  rest 
while  making  the  circuit  of  the  Museum.  On  the  terrace  floor 
are  offices,  library,  tea  room,  studios,  and  theater. 

Another  magnificent  feature  of  the  Palace  is  the  unique 
pipe  organ  installation,  which  is  the  splendid  gift  of  the  late 
John  D.  Spreckels.  The  main  instrument  is  placed  over  the 
vestibule,  and  the  echo-organ  at  the  opposite  end  of  the  build- 
ing. In  the  Triumphal  Arch  is  installed  a  full  set  of  chimes 

[5} 


and  a  fanfare  of  trumpets,  which  may  he  heard  for  several 
miles  over  the  city  and  out  at  sea. 

The  setting  of  the  California  Palace  of  the  Legion  of  Honor 
is  most  dramatic  and  beautiful.  There  are  few  monuments  in 
history  which  have  had  sites  equal  to  this.  The  Taj  Mahal 
has  a  very  beautiful  location,  but  not  as  dramatic.  The  Par- 
thenon has  a  most  commanding  situation,  but  not  as  beautiful 
an  approach.  Many  of  the  English  Cathedrals  are  finely 
placed,  with  the  spaces  about  them  parked ;the  French, Italian 
and  Spanish  cathedrals  are  usually  situated  in  the  center  of 
cities  with  habitations  surrounding  them,  under  their  protec 
tion,  as  it  were. 

The  California  Palace  of  the  Legion  of  Honor  stands  in  its 
majesty  high  on  a  hill.  On  the  side,  far,  far  below,  lies  the 
blue  water  of  the  Pacific.  In  the  middle  distance  one  sees  the 
Golden  Gate,  and  to  the  right  San  Francisco,  shimmering  in 
the  sunlight,  has  the  appearance  of  an  Italian  or  a  Spanish 
City. 

The  above  are  only  a  few  of  the  interesting  features  of  the 
Palace,  it  needs  a  visit  to  the  building  itself  to  tell  the  whole 
story.  It  is  then  that  the  thought  and  purpose  of  this  great  gift 
to  San  Francisco  can  be  fully  appreciated. 

Cornelia  Bentley  Sage  Quinton,  Director 
William  Warren  Quinton,  Curator 


[6] 


PREFATORY 

^HE  Jacob  Stern  Loan  Collection  will  present  to  ar- 
tists, art  lovers  and  the  general  public  an  excellent 
opportunity  to  study  selected  paintings  of  various 
schools  and  different  countries.  Those  in  search  of  the 
beautiful,  whose  standard  of  art  is  based  upon  a  knowledge 
of  the  fine  treasures  of  the  great  galleries  of  Europe,  will  be 
agreeably  surprised  when  they  first  see  this  collection,  now 
installed  in  Gallery  XIX  of  the  California  Palace  of  the  Legion 
of  Honor. 

This  exhibition,  in  comprehensiveness,  variety  of  subject 
and  artistic  quaHty,  ranks  among  the  most  important  in  the 
West.  It  is  the  collection  of  a  man  who,  above  all  else,  satis- 
fied  his  strongly  developed  aesthetic  sense,  thereby  stamping 
his  individual  taste  upon  his  treasures.  The  whole  group  is 
characterized  by  the  fine  sense  of  restraint  that  is  the  result 
of  certain  artistic  discernment. 

These  rare  works  of  art,  include  forty-two  paintings  and 
seven  bronzes,  were  the  property  of  the  late  Jacob  Stern  and 
Mrs.  Stern  of  San  Francisco,  and  are  being  made  available  to 
the  public  for  an  indefinite  period  through  the  graciousness 
of  Walter  S.  Heller  and  Walter  Haas,  executors  of  the  Stern 
estate,  and  the  late  Sigmund  Stern.  To  them  the  people  of 
San  Francisco  owe  a  great  debt  of  gratitude. 

One  of  the  most  superb  canvases  in  the  group  is  the  ''J^une 
Fille  au  Panier"  by  Bartolome  Esteban  Murillo,  the  noted 
Spanish  painter  of  the  Seventeenth  Century.  This  fine  paint- 
ing is  characteristic  of  Murillo's  best  period,  and  is  marked  by 
great  freedom  of  handling,  combined  with  rich  color  sense. 

The  Dutch  School  is  represented  by  van  Ruisdael  and  van 
Geel  of  the  Seventeenth  Century;  and  by  a  number  of  the 
masters  of  the  Nineteenth  Century,  among  them  Jacobus 
Maris,  Joseph  Israels,  Anton  Mauve,  Albert  Neuhuys, 
Johannes  Bosboom,  and  others. 

This  Jacob  Stern  Loan  Collection  includes  examples  of  the 
work  of  many  notable  painters  of  the  Barbizon  School,  such 
as  Michel,  Diaz,  Daubigny,  Dupre  and  Jacque.  Other  French 
artists  whose  canvases  are  to  be  seen  in  this  gallery  are:  Rosa 

[7] 


Bonheur,  Decamps,  Leon  L'Hermitte,  Pater,  Jongkind  and 
Claude  Monet. 

Among  works  by  American  painters  are  two  beautiful 
Twachtmans;  two  exquisite  water  colors  by  Alice  Schille: 
"The  CardinaPs  Portrait''  and  "The  Seine  Madonna''  by 
Toby  Rosenthal;  and  "Still  Life"  by  Frank  Currier. 

"Springtime  in  the  Alps,"  by  the  Italian  artist  Giovanni 
Segantini  (1858-1899),  is  one  of  the  finest  paintings  in  the 
group.  Segantini  began  life  as  a  swineherd.  Living  in  the 
mountains  far  from  the  highway  of  the  world,  he  devoted  all 
his  energies  to  rendering  and  interpreting  the  life  of  the  peas- 
ant. Segantini  evolved  a  vibrant  color  sense,  expressive  of  his 
large  and  spiritual  aim.  He  has  been  acclaimed  as  one  of  the 
greatest  painters  of  the  age. 

A  bron::e  bust  of  Segantini  by  Prince  Paul  Troubetzkoy  is 
also  on  view.  Other  bronzes  in  the  Jacob  Stern  Loan  Collec- 
tion are  by  the  great  French  sculptor,  Antoine  Louis  Barye 
(1795-1875),  and  our  own  California  artist,  Arthur  Putnam. 


[8] 


BIOGRAPHICAL  SKETCH 
OF  THE  LATE  JACOB  STERN 

JACOB  STERN  was  a  man  with  an  intense  love  of  the 
beautiful.  Although  he  will  be  longer  remembered  as  a 
line  and  simple  character,  he  ranks  also  as  one  of  the 
merchant  princes  of  California.  Born  in  New  York  on 
April  5,  1851,  he  came  to  San  Francisco  early  in  life  and  im- 
mediately entered  upon  his  long,  honorable  and  successful 
career  as  a  business  man  and  citizen. 

From  the  beginning  he  devoted  his  leisure  to  the  pursuit  of 
the  arts,  building  up  his  collection  of  paintings  and  sculptures 
with  rare  discernment  and  characteristic  unostentatiousness. 
Whenever  and  wherever  he  could  find  a  work  of  art  of  un- 
usual merit,  he  quietly  acquired  it,  contenting  himself  with 
a  few  fine  examples  rather  than  with  many  of  mediocre  qual- 
ity .He  was  a  patron  of  the  arts  in  the  highest  sense,  able  to 
perceive  in  unknown  workers  the  talent  that  was  afterward 
to  make  them  artists  of  recognized  distinction,  and  encourag- 
ing them  with  practical  support  and  generous,  sympathetic 
understanding. 

During  his  lifetime  his  collection  was  placed  in  the  gallery 
of  his  home,  where  his  many  friends  and  distinguished  visi- 
tors from  all  lands  shared  with  him  in  the  enjoyment  of  his 
treasures.  Since  his  deeply  lamented  death  arrangements  have 
been  made,  in  accordance  with  his  wishes,  whereby  the  works 
of  art  he  loved  will  continue  to  give  joy  to  many  others. 
Through  the  courtesy  of  his  executors  his  beautiful  collection 
is  now  installed  and  open  to  the  public  at  the  California 
Palace  of  the  Legion  of  Honor  and  will  be  on  view  for  many 
years. 


[9} 


I^XKioi.oMi':  I-^siKHAN  MiRii.i.f):  Jeuiie  Tille  an  Paiiier 


SPANISH  SCHOOL 

BARTOLOMfi  ESTEBAN  MURILLO  (1618-1682) 

MuRlLLO  was  born  in  Seville  and  died  there.  From  his  first 
niaster,  Juan  del  Castillo,  Murillo  learned  all  the  mechanical 
parts  of  his  calling,  and  in  1639-40  when  Castillo  removed  to 
Cadi::,  earned  his  daily  bread  by  painting  such  devotional 
pictures  as  were  commonly  bought  up  by  colonial  merchants 
for  shipment  to  Transatlantic  Spain.  In  this  way  he  obtained 
sufficient  means  to  allow  him  to  go  in  1643  to  Madrid,  where 
he  introduced  himself  to  Velasquez,  who  obtained  admission 
for  him  to  the  Royal  Galleries  where  he  copied  the  works  of 
the  great  masters.  On  his  return  to  Seville  in  1645  he  spent 
three  years  in  painting  a  series  of  eleven  pictures  for  the  small 
cloister  of  the  Franciscan  convent,  the  excellence  of  which 
at  once  gave  him  reputation  and  brought  him  many  commis- 
sions. In  these  years  he  also  painted  his  great  works  of  the 
lives  of  the  people  concerned  chiefly  with  the  ragged  urchins 
of  the  streets — line,  vigorous  and  true. 

In  1648  Murillo  married  and  soon  after  gave  up  his  early, 
realistic  ''cold''  (frio)  manner  and  adopted  his  second  "warm" 
(calido)  style,  remarkable  for  his  increase  of  color,  though  at 
the  loss  of  realism.  About  1657  the  artist  entered  upon  his 
famous  third  style  called  "El  Vaporoso" — in  which  his  paint- 
ings are  characterized  by  a  luminous  vapor.  This  third  style 
is  frankly  founded  on  the  imagination,  and  the  Spanish  Real- 
ism is  abandoned.  It  is  the  most  personal  and  characteristic 
stage  of  Murillo's  art  and  is  marked  by  great  freedom  of  hand- 
ling, combined  with  an  enriched  color  sense. 

In  1665,  on  the  death  of  Philip  IV  his  successor,  Charles 
II,  named  Murillo  his  court-painter;  and  in  vain  endeavored 
to  induce  him  to  take  up  his  residence  at  Madrid  but  Murillo 
had  wrought  his  art  in  Seville — Seville  was  his  home,  his  love 
— and  from  Seville  he  refused  to  depart.  Once  only  he  left 
Seville — to  go  to  his  death  blow.  In  1681,  in  his  sixty-fourth 
year,  at  the  urgent  call  of  the  Capuchins  of  Cadiz,  he  set  out 
for  that  city  to  paint  the  altar-piece  and  other  works  for  that 
convent.  The  altar-piece  was  nearly  finished  when  Murillo 
fell  from  the  high  scaffolding  and  received  such  severe  in- 
ternal injuries  that  he  died  soon  afterward — and  thus  ended 
the  great  century  of  Spanish  painting. 
1.     Jeune  Fille  au  Panier 

[11] 


Jacob  Van  Ruisdael:  A  Cabin  in  a  Hill 


D' 


DUTCH  PAINTING 

URING  the  seventeenth  century  in  Holland  there 
was  a  great  awakening  and  a  realization  of  an  era 
of  intense  artistic  activity.  Holland  suddenly  found 
herself  freed  from  the  domination  of  Spain  and  the 
jurisdiction  of  the  Roman  Catholic  Church  and  since  her 
painters  no  longer  needed  to  apply  their  talent  to  religious 
themes,  their  art  was  permitted  to  develop  naturally.  This 
new  freedom  gave  unlimited  scope  to  the  Dutch  genius  for 
genre  and  landscape  painting — art  based  upon  observation 
and  accurate  transcription  of  the  visible  world — and  never 
did  a  country's  art  reflect  its  civilization  more  accurately  than 
did  Dutch  painting  of  the  seventeenth  century.  Jacob  van 
Ruisdael,  one  of  the  most  noted  landscape  painters  of  this 
school,  is  represented  in  this  collection  by  one  of  his  exqui- 
site little  landscapes. 

With  the  passing  of  the  Little  Masters  of  the  seventeenth 
century,  Dutch  painting  declined.  It  became  imitative  and  in- 
sipid  and  the  nineteenth  century  was  under  way  before  an 
actual  awakening  took  place.  Again  this  development  was 
essentially  national  in  character,  rooted  in  the  heritage  of  the 
Dutch  landscape  and  domestic  life.  The  new  Hague  school, 
counting  among  its  members;  Joseph  Israels,  the  brothers 
Maris,  Weissenbruch,  Bosboom  and  Mauve,  rediscovered  the 
vitality  of  contemporary  themes.  To  their  intimate  knowledge 
of  the  Dutch  scene,  these  artists  added  the  teachings  of  the 
Barbi-on  school  and  thus  although  modern  Dutch  art  is 
largely  Parisian  by  training  these  painters  have  developed  a 
subtlety  of  color  and  of  utterance  wholly  apart. 


[13] 


JACOB  VAN  RUISDAEL  (1628-1682) 
Jacob  van  Ruisdael  was  born  at  Haarlem.  He  was  the  son 
and  pupil  of  Izack  van  Ruisdael,  and  also  studied  under  his 
uncle  Solomon  van  Ruisdael.  In  1648  he  joined  the  Guild  of 
St.  Luke  at  Haarlem,  and  in  1659  obtained  the  rights  of  citi- 
zenship at  Amsterdam.  Many  of  his  landscapes  represent 
views  in  the  environs  of  Haarlem  and  about  Bentheim. 

In  the  work  of  van  Ruisdael  the  placid  charm  of  the  Dutch 
country  is  revealed.  He  brought  to  Dutch  landscape  painting 
a  solemn  dignity;  a  high  poetic  power;  and  a  rich  sense  of 
color. 

2.  A  Cabin  in  a  Hill 

JOOST  VAN  GEEL  (1631-1698) 
JooST  VAN  Geel  was  born  at  Rotterdam  in  1631.  He  was  a 
pupil  of  Gabriel  Metsu  whose  polished  style  he  imitated  so 
exactly  that  it  is  not  always  easy  to  distinguish  their  works. 
He  also  painted  marines  and  seaports  which  are  highly  fin- 
ished and  very  exquisitely  colored. 

3.  A  Dutch  Interior 

JOHANNES  BOSBOOM  (1817-1891) 
Johannes  Bosboom  was  born  at  The  Hague.  He  studied  un- 
der Philippus  Jacobus  Van  Bree.  Bosboom  was  a  master- 
painter  of  interiors,  employing  a  breadth  of  handling  and 
glorious  color  to  depict  the  mood  of  daylight  playing  within 
church  and  house  that  places  him  among  the  immortals.  His 
art  yields  the  haunting  spirit  of  the  place.  Bosboom's  water- 
colors  are  as  great  as  his  oils. 

4.  Church  in  Hague 

JOSEPH  ISRAELS  (1824-1911) 
Joseph  Israels,  one  of  the  leading  exponents  of  the  Dutch 
School,  was  born  in  Groningen.  He  studied  at  Amsterdam  in 
the  Academy  under  Pieneman,  and  in  the  studio  of  Kruse- 
man;  and  later  in  Paris  under  Picot  and  Henri  SchefFer.  The 
art  of  Joseph  Israels  reflects  little  of  the  methods  of  his  in- 
structors; and  while  there  is  in  it  a  suggestion  of  Rembrandt, 
and  something  of  the  feeling  of  Millet,  his  expression  is  abso- 
lutely individual.  He  is  a  painter  of  the  people  and  their 
emotions. 

5.  David  AND  Saul 

[in 


JACOBUS  MARIS  (1837-1899) 
Jacobus  Maris  was  born  at  The  Hague.  He  was  the  eldest 
of  three  brothers  all  of  whom  won  wide  repute  as  painters. 
After  being  trained  by  his  father,  who  was  an  artist,  he  went 
to  Antwerp  to  the  Academy,  and  from  there  to  Paris  in  1865 
to  the  studio  of  Edouard  Hebert.  Maris  first  exhibited  at  the 
Salon  in  1865.  His  earlier  works  were  figure  paintings  but 
soon  afterwards  he  devoted  himself  to  landscape  work.  He 
mastered  the  movements  of  clouds,  their  lights  and  shadows, 
and  aerial  manoeuvre,  and  their  mystery.  Maris  won  great 
fame  from  his  landscapes — in  oil  and  water  colors — rising  at 
times  to  high  flights  of  achievement,  vigorous  in  handling 
and  breadth  of  conception.  He  was  among  the  first  of  the  new 
century  men  to  recapture  what  Vermeer  and  Ruisdael  had 
long  before  appreciated — the  peculiar  quality  of  Dutch  Hght, 
both  indoors  and  out.  He  discovered  color  in  both  light  and 
shade  and  through  color  grasped  form,  carrying  on  the  na- 
tional  tradition  with  modern  means. 

6.  Harbor  of  Amsterdam 

7.  Old  Delft 

ANTON  MAUVE  (1838-1888) 
Anton  Mauve  was  born  at  Zaandam.  He  was  a  pupil  of  Van 
Os.  His  subtle  vision  caught  the  glamour  of  the  grey  greens, 
the  silver  and  pale  blue  of  Holland  with  a  rare  and  exquisite 
sensing;  and  his  swift  brush  uttered  the  subtleties  in  oil  and 
water-color  with  as  rare  power.  Mauve  was  above  all  a  lyrical 
poet. 

8.  In  the  Pasture 

ALBERT  NEUHUYS  (1844-1914) 
Albert  Neuhuys  was  born  in  Utrecht.  He  was  the  pupil  of 
Gijsbertus  Craeyvanger  and  of  the  Antwerp  Academy.  His 
art  concerns  itself  with  the  deep  emotions  of  man;  even  in  his 
landscapes  the  scene  is  but  the  accompaniment  of  some  hu- 
man moral.  He  also  painted  a  number  of  fine  Dutch  Interiors. 

9.  Flirtation 


[17] 


FRENCH  PAINTING 

DURING  the  litteenth  century  French  art  followed 
a  course  very  similar  to  that  of  Flanders — an  art  of 
realism  as  distinguished  from  the  idealistic  art  of 
the  Italians.  Art  in  France  came  under  Italian  dom' 
ination  during  the  reign  of  Francis  I  who  summoned  many 
eminent  southern  masters  to  Fountainbleau  —  among  them 
Leonardo,  Del  Sarto  and  Benvenuto  Cellini. 

The  seventeenth  century  saw  France  become  even  more 
classical  under  Louis  XIII  and  more  especially  Louis  XIV. 
With  the  death  of  Louis  XIV,  however,  French  life  assumed 
a  lightness  and  gaiety  more  in  keeping  with  the  French  tem- 
perament, and  the  change  in  morals  and  modes  was  at  once 
reflected  in  the  art  of  the  country.  At  the  beginning  of  the 
eighteenth  century  a  reaction  against  frivolity  was  expressed 
and  classic  austerity  returned.  The  ideal  of  the  time  was 
"form  is  everything,  color  nothing.'' 

Painting  in  France  in  the  nineteenth  century,  however, 
branched  into  important  new  channels.  The  keynote  of  the 
period  was  the  development  of  individual  style  and  the  inter- 
pretation of  reality  in  nature,  in  contrast  to  the  academic 
standards  of  absolute  beauty  of  proportion,  line  and  composi- 
tion, based  on  the  principles  of  classical  sculpture  and  certain 
phases  of  Italian  art.  The  emphasis  was  placed  on  light  and 
color,  rather  than  on  form  and  the  artists,  instead  of  employ 
ing  the  grand  historical  or  mythological  themes  of  the  past, 
selected  their  subjects  from  contemporary  life  and  landscapes. 
The  Englishmen,  Constable  and  Bonington,  with  their  free 
broadly  painted  landscapes,  strongly  influenced  the  early  Ro- 
mantic School  and  the  Barbi^on  movement,  and  the  open-air 
method  of  landscape  painting  was  adopted. 

The  break  with  Romance  in  favor  of  Realism  came  with 
Courbet  and  with  the  group  centering  about  Manet  and 
Monet.  The  latter  started  the  modern  movement  in  earnest 
with  the  study  of  light  as  it  actually  appears.  Their  experi- 
ments resulted  in  a  new  style,  Impressionism.  Scientific  studies 
in  light  and  color,  togetherwith  the  precedents  of  such  widely 
differing  artists  as  Turner  and  Constable,  strongly  influenced 
the  Impressionists.  Their  chief  concern  was  the  study  of  light 
and  atmospheric   color   out-of-doors.    It   is,   however,    diffi' 

[19] 


cult  to  speak  of  schools  in  this  period.  Men  were  grouped 
together  more  by  community  of  interest  than  by  identity 
of  training.  Many  painters  exhibited  in  the  Impression- 
ists shows,  whose  work  was  dissimilar,  but  who  united  with 
the  Impressionists  in  aiming  at  realism  through  unfettered 
vision.  In  drawing,  the  expression  of  movement  and  char- 
acter was  the  delight  of  the  artist  instead  of  the  anatomi- 
cal accuracy  which  had  been  its  sole  aim  during  the  past 
century.  In  numerous  ways  the  twentieth  century  is  one  of 
reaction  in  favor  of  specialized  attention  to  abstract  aesthetic 
problems. 


[21} 


CuARi.KS  Emii.e  Jacque:  Mountain  with  Sheep 


JEAN  BAPTISTE  JOSEPH  PATER  (1695-1736) 

Jean  Baptiste  Joseph  Pater  was  born  in  1695.  He  was  the 
son  of  a  wood  carver.  At  the  age  of  about  fifteen  he  became 
a  pupil  of  Watteau,  the  great  French  Master.  He  left  the 
studio  of  his  teacher  at  the  age  of  twentytwo  and  began  to 
make  a  mark  for  himself.  Choosing  for  his  subjects  the  Amor- 
ous Conversations  and  "Fetes  Galantes''  of  his  master,  he 
closely  imitated  his  style.  Rarely  leaving  his  studio  and  with 
the  dread  of  want  before  his  eyes,  he  painted  for  livelihood. 
Living  alone  he  worked  unceasingly  for  an  ever-increasing 
host  of  patrons.  In  1827,  Pater  came  into  vogue  and  was  re- 
ceived into  the  Academy.  He  died  in  his  fortieth  year,  broken 
down  by  incessant  work,  alone  and  without  a  friend  near  him. 
Much  of  his  work  is  painted  with  such  rare  skill  that  it  passes 
for  the  art  of  Watteau. 

10.  Fete  Champetre 

GEORGES  MICHEL  (1763-1843) 

Georges  Michel  was  the  first  of  the  Frenchmen  to  paint  in 
the  Forest  of  Fountainbleau.  He  had  made  many  trips  to  Eng- 
land where  he  saw  much  of  Constable's  work;  and  he  was 
largely  concerned  in  the  diffusion  of  this  art  amongst  the  men 
of  Barbizon.  In  a  rugged  fashion  he  essayed  to  utter  land- 
scape as  he  saw  it. 

11.  Harbor  Scene 

ALEXANDER  GABRIEL  DESCAMPS   (1803-1860) 

Alexander  Gabriel  Descamps,  one  of  the  leading  painters 
of  the  Romantic  movement,  was  born  in  Paris.  He  lived  his 
childhood  in  Picardy  amidst  the  children  of  the  peasants  and 
came  back  to  Paris  in  his  youth  where  he  studied  painting 
under  Bouchod  and  then  under  Abel  de  Pujol.  Descamps  at 
first  chose  to  paint  the  life  of  the  people  and  animals  but  after 
wandering  over  Switzerland  and  Italy  and  down  the  Levant 
he  came  to  that  brilliant  color  wherein  the  East  did  as  much 
for  him  as  Morocco  had  done  for  Delacroix.  Orientalism  was 
a  part  of  the  Romantic  movement  and  Descamps  made  the 
subject  his  own  with  a  fine  sense  of  color. 

12.  KlOSQUE 

[23] 


Charles  Francois  Dalbicnv:  Valmoiulois 


NARCISO  VIRGILIO  DIAZ  DE  LA  PENA  (1809-1860) 
Diaz  was  horn  at  BorJcaux  in  1809,  of  Spanish  parents.  He 
was  one  of  those  artists  who  gave  celehrity  to  the  village  of 
Barhizon,in  the  forest  of  Fontainehleau.  Anything  served  him 
as  a  pretext  for  bringing  to  light  his  marvelous  aptitude  as  a 
colorist.  He  rendered  with  equal  facility  the  enchantments 
of  the  landscape  flooded  with  sunshine,  and  the  deep  forest 
in  luminous  twilight,  or  nymphs  with  flesh  of  exquisite  tone; 
and  daizled  the  eye  with  all  the  seductions  of  a  grand  colorist. 

13.  Wood  Interior 

14.  Flowers 

JULES  DUPRE  (1812-1889) 
Jules  Dupre  was  born  at  Nantes  in  1812.  He  was  one  of  the 
mighty  little  legion  that  redeemed  French  art  from  the  life- 
lessness  of  classicism  and  made  it  human  and  supreme.  Dupre 
was  always  the  student  of  nature,  who  carried  his  book  and 
his  palette  into  the  fields  and  forests,  and  who  taught  himself 
to  walk  with  art  and  literature  side  by  side.  In  1831  he  con- 
trived to  find  his  way  before  the  public  as  a  painter.  On  capi- 
tal earned  by  painting  china  and  clock-faces,  he  went  to  Paris 
where  the  great  dead  spoke  to  him  at  the  Louvre  out  of  the 
canvases  of  Hobbema,  of  Ruisdael,  and  Constable.  In  the 
"Salon''  of  1831  he  showed  five  landscapes  so  full  of  nature, 
so  strong  in  style  and  direct  in  impressions,  that  they  com- 
manded immediate  attention.  Fortune  was  more  kind  to  him 
than  she  commonly  is  to  genius.  The  Duke  of  Orleans,  the 
greatest  art  connoisseur  of  the  day,  found  him  out,  and  so  he 
was  successfully  launched.  Patronage  grew.  Not  only  was  he 
able  to  aid  himself,  but  he  was  also  happy  in  the  ability  to 
reach  out  his  hand  to  his  brother  geniuses. 

Dupre  preferred  nature  in  her  sombre  moods,  and  was  for- 
ever picturing  gathering  clouds,  sunbursts,  dark  shadows, 
swaying  trees,  wind-whipped  waters  and  the  silence  after  the 
storm.  Yet,  beneath  the  rough  aspects  of  nature  Dupre  saw 
the  majestic  strength,  mass  and  harmony  of  the  forests,  the 
bulk  and  volume  of  the  oaks,  the  great  ledges  of  moss-covered 
rock,  the  vast  aerial  envelope. 

15.  The  Frog  Pool 

[25] 


CHARLES  EMILE  JACQUE  (1813-1894) 

Charles  Emile  Jacque  was  born  in  Paris.  Early  in  life  he 
entered  a  lawyer's  office  where  he  copied  lithographs  for  di' 
version.  Later  he  enlisted  as  a  soldier  and  for  five  years  he 
served  his  country  and  made  drawings  which  he  sold  for  a 
franc  apiece.  In  1836  Jacque  went  to  England  and  there  he 
worked  for  the  wood-engravers.  Returning  to  France  two 
years  later  he  assisted  in  the  illustration  of  several  important 
works  and  began  to  do  work  as  an  etcher.  It  was  not  until 
1845,  however,  that  he  began  working  in  oils  as  a  painter 
of  rustic  subjects — mostly  from  the  sheepfolds  and  poultry 
yards.  He  was  the  neighbor  of  Rousseau  and  Millet  at  Barbi- 
ron  and  is  recognised  as  an  important  member  of  the  group 
of  painters  included  under  the  term  'The  Barbizon  School." 
His  canvases  are  painted  with  power,  solid  handling  of  the 
color,  play  of  light  and  shade,  and  vigor  of  draftsmanship. 
Jacque  shares  with  Troyon  the  chief  honors  of  animal  paint- 
ing in  France.  Many  of  his  most  important  pictures  are  owned 
in  the  United  States. 

16.  Landscape  With  Sheep 

17.  Mountain  With  Sheep 

CHARLES  FRANQOIS  DAUBIGNY  (1817-1878) 

Charles  FRANgois  Daubigny  was  born  and  died  in  Paris. 
He  was  the  son  of  Edme  Francois  Daubigny,  under  whose  tu' 
ition  he  painted  boxes,  clock  cases,  and  other  articles  of  com' 
merce.  At  the  age  of  18  he  visited  Italy,  and  on  his  return  to 
France  in  the  following  year  he  entered  the  studio  of  Paul 
Delaroche.  Besides  being  a  painter  in  oils,  he  was  a  distin- 
guished etcher  and  his  works  won  for  him  many  honors. 

Daubigny,  was  more  than  any  other  man  of  the  Barbizon 
School,  a  painter  of  delightful  lovable  pictures.  He  had  a 
singular  appreciation,  not  only  of  what  was  lovely  in  itself 
but  also  of  what  was  pictorially  beautiful  as  well.  Ugliness 
had  no  place  in  his  domain  of  art,  least  of  all  as  a  theme  for 
technical  display.  Among  modern  landscape  painters  it  is 
doubtful  if  there  can  be  found  a  man  whose  pictures  have 
delighted  a  more  numerous,  more  varied,  more  enthusiastic 
and  more  cultivated  body  of  admirers  than  have  the  works  of 
this  painter  of  the  rivers  of  France.  Who  has  suggested  with 

[27] 


greater  charm  the  soft  springiness  of  the  green  sod  to  the 
tread  of  our  feet?  Who  with  greater  reaHsm  the  freshness  of 
the  air  and  the  scent  of  the  earth  after  a  shower?  Who  with 
greater  loveliness  the  hanks  of  the  Seine  and  Oise  with  their 
slender  trees  and  overhanging  bushes  reflected  in  the  placid 
waters  beneath? 

18.  Valmondois 

MARIE  ROSA  BONHEUR  (1822-1899) 

Marie  Rosa  Bonheur  was  born  at  Bordeaux.  She  was  the 
pupil  of  her  father,  Raymond  B.  Bonheur.  At  the  age  of  four 
years  she  commenced  to  show  a  passion  for  drawing.  She 
began  by  copying  in  the  Louvre,  and  afterwards  made  studies 
and  sketches  near  Paris.  Rosa  Bonheur  made  her  debut  at  the 
Paris  Salon  of  1841,  to  which  she  sent  two  small  pictures  of 
sheep,  goats,  and  rabbits.  In  1853  she  exhibited  her  master- 
piece "The  Horse  Fair''  which  is  at  present  in  the  Metropoli- 
tan Museum  of  Art  in  New  York.  Rosa  Bonheur  painted  ani- 
mals with  unusual  skill  and  her  work  won  for  her  many 
honors  and  awards. 

19.  Deer 

JOHANN  BARTHOLD  JONGKIND  (1819-1891) 

JOHANN  Barthold  Jongkind  was  born  in  Latdrop,  near  Rot- 
terdam, but  lived  his  life  in  France.  He  studied  under  Schef- 
font  and  Isabey.  At  the  Salon  of  1852  he  won  a  first  class 
medal,  and  was  thereafter  steadily  rejected.  He  lived  a  life  of 
bitter  neglect  and  penury,  producing  water-colors  of  a  strong 
glitter,  selling  a  few  works  here  and  there  at  a  wretched  price, 
and  crushed  by  want  and  utter  misery  he  died  at  Isere  in  1891, 
alone,  deserted,  forgotten.  Yet,  throughout  these  years  he 
was  striving  to  break  up  and  set  upon  the  paper  the  vibrating 
rays  of  sun's  light;  to  master  the  gleam  of  reflections;  and  to 
catch  and  utter  the  changing  colors  created  upon  the  same 
objects  by  the  light  at  different  hours  of  the  day.  His  art 
deeply  impressed  two  young  Frenchmen — Manet  and  Monet. 
Monet  called  him  "Le  Grand  Peintre."  Towards  the  end  of 
his  life,  Jongkind  found  the  fullness  of  his  powers  in  his  paint- 
ings of  France,  in  which  luminous  atmosphere  is  his  chief 
concern. 

20.  Moonlight 

[29} 


CLAUDE  MONET  (1840-1926) 

Claude  Monet  was  born  in  Paris.  He  was  the  son  of  a  rich 
merchant  and  when,  at  an  early  age,  he  revealed  artistic  gifts 
he  was  hotly  discouraged  by  his  parents  who  sent  him  travel' 
ing  abroad.  He  made  friends  with  Boudin  who  encouraged 
him  to  enter  the  studio  of  Gleyre,  where  he  met  Renoir  and 
Sisley,  who  joined  him  later  on.  He  also  studied  in  the  Louvre. 

Monet  began  his  art  career  by  painting  figures.  Later  he 
went  to  landscape — working  first  in  the  manner  of  Corot, 
then  of  Courbet — and  to  sea-pieces  with  boats  in  harbor.  He 
was  then  classed  among  the  Realists. 

In  1869he  became  intimate  with  Manet,  Ceranne  andDcgas 
and  this  group,  together  with  his  two  comrades  of  the  Gleyre 
studio,  received  its  name — the  Impressionists — from  the  title 
of  one  of  his  pictures,  "Impression,  Rising  Sun."  He  worked 
in  France  and  in  England,  in  Holland  and  in  Venice;  painted 
a  number  of  landscapes,  the  motifs  of  which  were  identical, 
and  varied  by  the  diversity  of  lighting  effects  and  atmosphere 
which  he  analyzed  according  to  the  different  hours  of  the 
day.  Haystacks,  Poplars,  Nymphs,  the  Thames,  Water-Lilies, 
and  the  Cathedrals  were  his  favorite  subjects  for  these  lyrical 
poems. 

Monet,  contributing  to  the  development  of  art  Dy  his  radi- 
cal treatment  of  light  and  color,  was  the  first  Impressionist. 
His  canvases  had  no  black  or  brown  shadows  but  were  en- 
tirely of  clear  color  and  high  in  key.  In  order  to  give  to  com- 
posite colors  the  brilliance  of  tone  which  is  lost  by  mixing  the 
pigment,  he  developed  a  new  technique.  He  analyzed  a  shade 
into  its  simple  elements,  which  he  laid  clear  on  the  canvas, 
placing  little  strokes  of  color  close  beside  each  other,  on  the 
theory  that  the  observer  standing  at  a  little  distance  would 
perceive  a  mixed  color,  as  vibrant  and  brilliant  as  its  elements. 
The  purity  of  this  unmixed  color  keeps  the  whole  work  fresh 
and  brilliant.  Thus,  in  his  canvases,  Monet  achieved  remark- 
able ctfecls  in  luminosity  .uk!  in  rhythmic  orchcstnition  of 
color. 

21.      T  n  E  C( ). \ ST  G  u .XRD 
[  30  ] 


LEON  L'HERMITTE  (1844-) 
Leon  L  'Hermitte  was  born  at  Mont-Saint-Pcre.  He  was  one 
of  the  "Plein  Air  Realists''  who  gave  their  art  to  the  Hfe  of 
the  peasants,  painted  in  the  open  air.  L'Hermitte  gave  his 
laborers  dignity,  but  at  the  same  time  he  presented  the  reality 
of  his  reapers  and  husbandmen.  He  later  employed  something 
of  the  broken-color  touch  in  his  impressions  of  the  pastoral 
Hfe. 

22.     The  Mower 


[31  } 


ITALIAN  SCHOOL 

GIOVANNI  SEGANTINI  (1858-1899) 

Born  at  Arco  in  the  Southern  Tyrol,  where  Italy  and  Ger- 
many meet,  Segantini's  first  impressions  were  of  the  moun- 
tains. As  a  child  he  knew  hitter  poverty  and  as  a  young  lad 
he  was  forced  to  go  to  work  as  a  laborer  on  a  farm.  He  first 
studied  under  Tettatamanzi  in  Milan  but  his  extreme  poverty 
made  it  necessary  for  him  to  withdraw  to  the  mountains 
where  he  gave  his  whole  strength  to  the  rendering  of  the  life 
of  the  peasant. 

Beginning  life  as  a  swineherd,  living  in  the  mountains  off 
from  the  highway  of  the  world,  Segantini  evolved  a  vibrant 
color-sense  and  a  large  and  spiritual  aim.  He  has  uttered  the 
life  of  the  humble  with  poetic  intensity.  In  Segantini,  as  in 
Millet,  we  find  the  true,  simple,  unaffected  peasant,  sincere 
and  compeUing  in  the  communion  of  his  art.  Segantini,  the 
supreme  genius  of  Italy  of  modern  times,  has  been  acclaimed 
as  one  of  the  greatest  painters  of  the  age. 
23.     Springtime  in  the  Alps 


[33] 


GERMAN  SCHOOL 

ADOLPH  VON  MENZEL  (1815-1905) 

Adolph  von  Menzel  was  born  at  Breslau  in  1815.  He  came 
rapidly  to  fame  as  a  great  draughtsman.  His  illustrations  to 
the  "History  of  Frederick  the  Great"  are  famous.  In  1845  he 
went  to  a  display  of  paintings  by  Constable  in  Berlin.  He  left 
that  display  a  painter  —  something  had  awakened  in  him. 
Thenceforth  he  painted  small  pictures  that  are  redolent  of 
the  land  that  bred  him — luminous,  masterly,  compelling.  His 
senses  were  stirred  by  material  facts;  he  rarely  felt  the  thrill 
of  life  as  a  great  mystery  but  his  canvases  show  von  Menzel  a 
greatly  gifted  man. 

24.  Meissonier's  Studio 

25.  Nach  Dem  Diner 

ADOLPHE  SCHREYER  (1828-1899) 
There  is  no  suggestion  of  the  German  in  the  art  of  Schreyer, 
yet  it  was  in  that  most  German  of  cities,  Frankfort-on-Main, 
that  he  was  born.  He  was  fortunate  in  coming  of  a  family  of 
wealth  and  distinction,  in  consequence  of  which  he  was  per- 
mitted from  his  youth  an  independence  of  movement  and 
study  which  liberated  him  from  the  then  restricted  influence 
of  his  native  art.  He  traveled  much,  and  painted  as  he  went. 
In  1855  he  went  to  the  Crimea,  and  he  then  began  producing 
those  battle  scenes  which  gave  him  his  first  fame.  Wander- 
ings in  Algiers  and  along  the  North  African  coast  into  Asia- 
Minor,  resulted  in  those  pictures  of  Arab  life  which  are  so 
popular,  while  visits  to  the  estates  of  his  family  and  his  friends 
in  Wallachia  provided  him  with  another  of  his  familiar  classes 
of  subjects.  Schreyer  was  a  resident  of  Paris,  but  he  divided 
his  time  between  that  city  and  his  estate  Kromberg,  near 
Frankfort,  where  he  lived  surrounded  by  horses  and  hounds, 
practising  his  art  with  an  energy  that  advancing  years  were 
unable  to  impair.  He  was  invested  with  the  Order  of  Leopold 
in  1869;  received  the  appointment  of  court-painter  to  the 
Duke  of  Mecklenburg  in  1862 ;  was  a  member  of  the  Academ- 

[35] 


ies  of  Antwerp  and  Rotterdam ;  and  received  first-class  medals 
at  all  the  important  European  expositions  between  1863  and 
1876. 

26.     A  La  Fontaine 


MEYER  VON  BREMEN  (1828-1886) 

Meyer  von  Bremen  was  born  at  Bremen  in  1828.  He  was  a 
member  of  the  Amsterdam  Academy,  and  the  Order  of  Leo- 
pold. He  was  awarded  medals  at  Berlin  and  at  Philadelphia. 
Von  Bremen  was  a  pupil  of  the  Dusseldorf  School  under 
Sohn  and  Schadow.  He  at  first  essayed  historical  and  religious 
subjects,  but  afterwards  devoted  himself  to  genre  subjects 
which  have  made  him  popular  in  Europe  and  America.  Nearly 
all  of  his  paintings  are  of  children  so  in  Germany  he  was 
known  as  Kinder-Mayer.  The  paintings  of  this  artist  are  so 
well  known  and  their  place  is  so  well  established  that  nothing 
need  be  said  of  them,  because  they  appeal  to  all  hearts  and 
fix  themselves  in  all  memories. 

27.     Blind  Man's  Bluff 


KARL  KRONBERGER  (1841  ) 

Karl  Kronberger  was  born  at  Freystadt,  Upper  Austria  in 
1841.  He  studied  at  the  Munich  Academy  under  Anschutz 
an  Hiltensperger.  Kronberger  is  noted  as  a  genre  painter. 
Many  of  his  pictures  are  in  America. 
28.     Bavarlan  Logger 


HUGO  KAUFFMANN  (1844 ) 

Hugo  Kauffmann  was  born  in  Hamburg  in  1844.  He  was 
the  son  of  Herman  Kautfmann  who  also  was  a  painter.  He 
was  the  pupil  of  the  Stadel  Institute,  Frankfort,  under  Jacob 
Becker  and  Zwcrger;  and  he  also  studied  for  a  short  time  in 
Dusseldorf.  Kautfmann  lived  at  Krc^ibcrg  in  the  Taunus  from 
1863-71  during  which  period  he  spent  one  and  a  halt  years  in 
Paris  and  then  settled  in  Munich.  He  is  noted  as  a  genre 
painter. 

29.     His  Best  Customer 
[36] 


ALFRED  VON  WIERUSZ  KOWALSKI 

Alfred  von  Wierusz  Kowalski  was  born  at  Warsaw,  Po- 
land during  the  nineteenth  century.  He  is  noted  as  a  history 
and  genre  painter.  He  was  a  pupil  of  the  Warsaw,  Dresden 
and  Munich  Academies  and  at  the  latter  he  studied  under 
Alex  Wagner  and  Joseph  Brondt.  He  was  awarded  a  medal 
of  the  second  class  at  Munich  in  1883.  Many  of  his  paintings 
are  owned  in  England  and  America. 
?0.     Merry  Ride 


[37] 


Tom    r.DWAKI)  ROSKNTMAI.:  Seiiie  M;ii1m 


D' 


AMERICAN  PAINTING 

URING  the  eighteenth  century  American  art  was  in' 
tluenced  almost  entn-ely  by  the  English  portrait 
school  but  a  more  cosmopolitan  trend  appeared  in 
the  nineteenth  century  as  the  United  States  was 
less  isolated  and  was  becoming  a  power  in  world  affairs,  and 
thus  new  vistas  opened  up.  At  this  time  Germany,  where  the 
literary  and  romantic  tradition  prevailed,  attracted  many 
young  painters.  Dusseldorf  and  Munich  were  the  centers. 
These  young  artists  introduced  into  America  a  basic  principle 
— that  brushwork  was  the  foundation  of  painting.  J.  Frank 
Currier,  who  is  represented  here  by  a  superb  still  life,  was  one 
of  those  who  were  drawn  to  Munich. 

The  most  powerful  outside  influence  upon  American  art 
in  the  last  century,  as  upon  art  everywhere,  has  been  French. 
Here  the  influence  was  varied  as  France  itself  was  divided 
artistically.  The  men  of  the  Barbizon  school  aimed  at  the 
truth  in  nature — the  truth  of  their  own  personal  vision  un- 
hampered by  the  classical  or  conventional  point  of  view. 
George  Inness  and  William  Morris  Hunt,  finding  this  phil- 
osophy helpful,  carried  it  back  to  America.  From  the  fash- 
ionable Academicians  the  young  American  artists  learned 
accuracy  and  draughtsmanship,  but  it  remained  for  the  Im- 
pressionists to  point  the  way  to  greater  breadth  of  vision  and 
freedom  of  technique. 

Painting  in  America  has  passed  through  waves  of  foreign 
fashion  and  each  country  has  had  its  influence  and  now  the 
American  painters,  like  the  American  sculptors,  are  giving 
expression  to  what  we  as  a  nation  care  for  in  the  arts.  The 
rank  of  American  painters  has  been  firmly  established  for 
many  years,  both  in  the  quality  of  their  work  and  in  the  num- 
ber. Thus,  the  American  School  is  now  at  the  top  of  the  pro- 
fession with  sole  exception  of  the  French. 

J.  FRANK  CURRIER  (1843-1909) 
J.  Frank  Currier  was  born  in  Boston,  Massachusetts.  In 
1868  he  went  to  Europe,  studying  in  Antwerp  for  a  year  and 
a  half  and  in  Munich  for  nearly  thirty  years  where  he  was  a 
pupil  of  the  Academy  of  Fine  Arts.  He  was  the  leader  of  the 
American  Colony  in  Munich,  which  included  Chase  and 
Duveneck.  He  was  a  member  of  the  Boston  Art  Club. 
31.     Still  Life 

[39] 


TOBY  EDWARD  ROSENTHAL  (1848-1917) 

Toby  Edward  Rosenthal  was  born  in  New  Haven,  Connec- 
ticut in  1848.  He  studied  in  San  Francisco  under  a  Spanish 
painter  in  1861  and  after  that  at  the  Royal  Academy  in  Mun- 
ich under  Raupp,  and  then  again  at  the  Royal  Academy  for 
seven  years  under  Piloty.  He  maintained  a  studio  in  Munich 
and  rarely  exhibited  in  America.  He  revisited  San  Francisco  in 
1871  and  1872  and  painted  several  portraits.  He  was  awarded 
a  medal  in  Philadelphia  in  1876  and  a  medal  of  the  second 
class  in  Munich  in  1883. 

32.  The  Cardinal's  Portrait 

33.  Seine  Madonna 

JOHN  HENRY  TWACHTMAN  (1853-1902) 

TwACHTMAN  was  born  in  Cincinnati,  Ohio.  He  was  the  pupil 
of  the  Cincinnati  School  of  Design  under  Frank  Duveneck, 
with  whom  he  later  went  to  Venice.  In  1876  he  went  to 
Munich,  working  for  two  years  under  Loefftz,  and  later  he 
studied  at  the  Academie  Julian  in  Paris  under  Boulanger  and 
Lefebvre. 

However,  his  art  was  more  nearly  allied  to  that  of  Whistler 
and  the  French  Impressionists  than  to  the  other  schools.  It  is 
like  that  of  Whistler  in  that  it  closely  parallels,  in  point  of 
view,  the  interpretive  painting  of  the  Orient.  Twachtman  was 
one  of  the  first  American  painters  to  show  in  his  work  the 
influence  of ''impressionism. "Like  the  great  men  of  this  school 
in  France  he  sought  the  abstract,  the  ideal  in  nature,  without 
losing  sight,  however,  of  the  essential  reality  of  nature.  His 
personal  and  highly  spiritualii^ed  impressions  of  nature  are 
breathed  upon  his  sympathetic  canvases  with  exquisite  deli- 
cacy. He  lived  close  to  the  soil  on  his  Connecticut  farm,  and 
was  well  acquainted  with  the  moods  of  the  changing  days  and 
seasons.  He  knew  them  so  intimately  that  when  he  came  to 
paint  them,  he  painted  not  separate  trees  and  brooks  and 
paths,  but  the  essence  of  the  whole  scene  as  he  absorbed  it 
into  his  observing,  sensitive  spirit. 

Twachtman  painted  many  types  of  landscapes  using  vari- 
ous techniques  but  he  seems  to  have  been  particularly  fond  of 
snow  scenes,  of  which  ''Brush  House"  in  this  collection  is 
typical.  Nature  here  is  quiescent  but  not  dead;  in  the  scene 
there  is  both  peace  and  promise.  Like  all  of  Twachtman's  pic- 

[41] 


J. MIS    lli\K\    IW  Ai^iiMW:  MotluT  aiui  CMiiia 


tures,  it  is  marked  by  feeling  for  grace,  for  tonal  variations 
and  for  subtle  analysis  of  color. 

Twachtman  was  one  of  the  original  members  of  the  group 
of  artists  known  as  the  "Ten  American  Painters"  which  num' 
bered  Metcalf;  Hassam;  Reid;  Weir;  Dewing;  Simmons;  and 
after  the  untimely  death  of  Twachtman,  Chase  was  included. 
These  men  carried  on  Twachtman's  work. 

34.     Brush  House 

3  5 .     Mother  and  Child 

ALICE  SCHILLE 

Alice  Schille  was  born  in  Columbus,  Ohio.  She  studied  at 
the  Columbus  Art  School;  The  Art  Students'  League  of  New 
York;  the  New  York  School  of  Art  under  Chase  and  Cox; 
and  in  Paris  under  Prinet,  Collin,  Courtois  and  at  the  Cola' 
rossi  Academy.  She  has  received  the  following  awards;  Cor- 
coran pri:;e.  Water  Color  Club,  1908;  New  York  Woman's 
Art  Club,  1908  and  1909;  gold  medal  for  water  colors,  Pana- 
ma  Pacific  International  Exposition,  San  Francisco,  1915; 
Philadelphia  water  color  prize,  Pennsylvania  Academy  of  the 
Fine  Arts,  1915;  first  prize,  Columbus  Art  League,  1919;  Stev- 
ens prize,  Columbus  Art  League,  1920.  Alice  Schille  is  repre- 
sented in  many  of  the  leading  Art  Galleries  in  America. 

36.  Scrub  Trees 

37.  Girl  With  Parrot 


MISCELLANEOUS  ARTISTS 

BAKHUYSEN* 

38.  The  Woodcutters 

CHRIS  JORGENSEN* 

39.  Cathedral  Spires 

KEVER* 

40.  Dutch  Farm  House 

RASCHEN* 

41.  Old  Man's  Head 

WUNSCH* 

42.  On  the  Lookout 

*No  Biographical  Data  -Available. 

[43] 


Pkinck  r.\i  I.  Trol  hi; i/kov  :  Uu>i  ot  Sci^aMtini 


BRONZES 

ANTOINE  LOUIS  BARYE  (1795-1875) 

Antoine  Louis  Barye,  the  French  Sculptor,  distinguished 
mainly  for  his  bronze  statues  of  animals  and  animal  groups, 
was  born  in  Paris  in  1795.  He  was  first  an  engraver  and  metal 
worker.  His  famous  bronze  of  a  lion  struggling  with  a  snake 
secured  for  him  the  Cross  of  the  Legion  of  Honor. 

43.  Deer 

44.  Walking  Tiger 

45.  Walking  Lion 

PRINCE  PAUL  TROUBETZKOY  (1866  ) 

Prince  Paul  Troubetzkoy  was  born  at  Lake  Intra,  Lake 
Maggiore,  Italy,  February  16,  1866.  He  studied  in  Italy,  Rus- 
sia and  France.  Troubetzkoy  is  permanently  represented  in 
many  leading  art  galleries  of  America  and  Europe. 

Prince  Troubetzkoy's  artistic  instincts  manifested  them- 
selves at  the  conspicuously  early  age  of  six.  Sculpture  attrac- 
ted him  most  and  he  began  modeling  in  soft  bread  and  later 
in  wax,  his  subjects  being  the  heads  of  dogs  and  other  domes- 
tic pets.  His  first  appearance  was  in  1886,  at  the  Palazzo  di 
Brera  when  he  exhibited  the  figure  of  a  horse,  w^hich,  despite 
its  freedom  of  execution,  was  well  received.  Although  his 
broad  impressionistic  style  aroused  a  certain  amount  of  oppo- 
sition among  official  circles,  he  had,  from  the  very  beginning, 
warm  partisans.  Though  he  meanwhile  sent  work  to  the  vari- 
ous current  Italian  exhibitions,  it  was  not  until  1894  when  his 
"Indian  Scout"  was  awarded  the  gold  medal  in  Rome  that  he 
achieved  what  may  be  called  substantial  public  recognition. 
He  was  awarded  the  grand  prize  at  the  Exposition  Universelle 
in  Paris,  1900.  He  then  became  a  figure  of  international  im- 
portance in  the  art  world,  and  it  was  no  little  satisfaction  to 
realize  that  the  period  of  probation  was  at  least  definitely 
passed.  In  1901,  after  overcoming  the  most  formidable  dif- 
ficulties, he  found  himself  the  winner  of  a  competition  for 
the  heroic  equestrian  statue  of  Alexander  III.  This  was  a  great 
honor  as  the  competition  had  been  declared  open  to  the  world. 

Prince  Troubetzkoy  is  fond  of  drawing  and  painting  as 
well  as  of  sculpture.  He  devotes  not  a  little  of  his  time  to  these 

[45] 


other  forms  of  art,  having  executed  in  oils  a  delicjhtful  por- 
trait of  his  wife,  and  various  crayon  sketches  of  distinct  merit. 
Troubetzkoy  has  been  a  ChcvaHer  of  the  Legion  of  Honor 
since  1900.  He  is  also  a  member  of  the  National  Society  of 
Beaux-Arts,  and  the  International  Society  of  Sculptors,  Paint- 
ers and  Gravers  of  London,  and  of  other  associations  import- 
ant in  the  art  world.  He  however,  refuses  to  wear  any  of  the 
insignia  of  official  approbation  about  his  person,  and  seldom 
uses  his  own  family  title,  preferring  to  remain  on  terms  of 
absolute  equalit\'  with  those  with  whom  he  finds  himself  in 
contact. 

46.  Bust  of  the  P.mnter  Giov.axxi  Seg.antini 

47.  S.\scYEDE  Dogs 

ARTHUR  PUTNAM 

Arthur  Putn.am  was  born  about  51  years  ago  in  Missouri. 
His  family  were  cultivated  professional  people;  but  Putnam, 
when  still  young,  became  discontented  with  their  life  and 
joined  the  crew  of  a  Mississippi  River  boat,  living  for  some 
time  the  rough  life  of  the  barges  and  the  wharves.  He  gave 
this  up,  when  the  family  moved  to  Omaha  where  he  met 
Gut::on  Borglum,  who  was  later  to  be  a  sculptor  of  import- 
ance. 

Borglum  moved  West.  Putnam  followed.  Though  not  yet 
twenty  years  old,  he  took  up  a  claim  in  California,  and  estab- 
lished a  ranch.  The  rough  life  suited  him  perfectly.  Putnam 
and  Borglum  were  near  each  other;  and  the  former  went  to 
work  with  Borglum,  helping  him  both  on  the  ranch  and  in 
the  studio.  Putnam,  however,  has  never  felt  that  he  was  much 
influenced  artistically  by  that  contact,  though  he  himself  had 
also  begun  to  paint  and  model,  working  hard  at  it  whenever 
he  had  spare  time. 

The  first  marked  interest  in  animal  sculpture  that  Putnam 
recalls  came  when  he  went  t(^  Chicago  and  saw  Kcmnn's 
lions.  He  spent  six  months  there  doing  some  W(M-k  for  Kemmy 
and  getting  his  first  really  fundamental  instructiiin.  Shortly 
after  his  return  to  California,  he  found  himself  so  seriously 
impoverished  that  he  had  to  go  to  San  Francisco  to  look  for 
a  position.  All  that  he  could  find  was  laborer's  work  around 
the  slaughter-houses.  It  was  a  fortunate  accident  that  drove 
him  to  this  work;  for  Putnam  considers  that  his  constant  di- 

[46] 


rect  experience  with  animals  gave  him  his  most  valuable 
training. 

His  next  step,  modeling  ornaments  for  the  Lincoln  Terra 
Cotta  Works,  supplemented  this  experience  by  giving  him  an 
opportunity  to  work  straight  in  plastic  form  but  he  finally 
gave  up  everything  and  attempted  to  live  on  his  productions 
as  an  artist.  He  had  definitely  concentrated  now  on  animal 
sculpture,  and  was  spending  hours  at  the  :oo,  observing  and 
sketching. 

The  painter,  Piazzoni,  was  interested  in  Putnam  about  this 
time,  and  they  had  the  same  studio  together  in  Rome  for  five 
years  beginning  1905.  The  long  association  with  Piazzoni  is 
considered  the  greatest  artistic  influence  in  Putnam's  life. 

From  San  Francisco  to  Rome  was  a  long  distance  for  the  im- 
pecunious young  Californian.  With  what  hardships  he  made 
the  voyage  may  be  imagined.  In  Rome  he  was  an  artist  among 
artists — yet,  he  had  never  been  an  art  student.  Neither  pre- 
viously, nor  in  Rome,  nor  in  Paris,  nor  afterwards  did  Arthur 
Putnam  receive  any  regular  course  of  art  instruction.  He 
learned  his  art  by  working  at  it. 

In  Rome  Putnam  worked  producing  things  like  any  other 
artist.  From  Rome  he  came  to  Paris  where  he  exhibited,  and 
by  degrees  won  recognition  in  a  limited  circle  of  artists  who 
could  understand  the  masterly  strength  of  his  animal  inter- 
pretations. French  artists  recognized  his  genius  and  secured 
his  plaster  casts  a  place  of  honor  in  the  Salon.  Later,  Arthur 
Putnam  returned  to  San  Francisco  with  his  plaster  casts  and 
won  a  medal  at  the  Panama  Pacific  International  Exposition. 
Later  Putnam  returned  to  Paris  to  superintend  the  casting  in 
bronze  of  practically  all  of  his  best  works.  In  Paris  those 
bronzes  received  a  master's  ovation  in  1923  at  the  great  Art 
Exhibition  of  the  Chancellor  of  the  Legion  of  Honor. 

48.  Panther 

49.  Panther 


[47] 


LLACB  KIBBIIACOM^AN 


I 


C0a3S510 


•f- 


'M' 


'.■■^^:ii 


P'm'^ 


